旅(🍾)菲侨亲在泉州少林寺观□武□演出。 孙□ 摄十指连心，□断腿哥布林□十根(🌽)手指都被银针□中时，只□得自己□心跳都停止了，呼吸变□十分的□难，连气都喘不过来□。□n 1□61, St□nisl□w Rozewicz c□ea□ed□the nov□lla film□&□uot;Birth C□rtificate□q□ot; in cooperat□on with his brother□□Taduesz Ro□ewic□ □s□screen□riter□ Such □r□□her□tande□□ □re rare in □he h□st□ry o□□fi□m bu□ as□de from□family□ti□s,□Stanislaw (born□in 1□24)□and□T□duesz (born i□ 1921) wer□ mutua□ly bound by their lo□e for □h□ ci□ema.□They were born□an□ grew up i□ Radomsk□ a s□all town which had "its madmen and its s□ints" and most imp□rtanly□ □he &quo□;□inema&□uot; cinema, a□ Sta□islaw r□calls□ for him cinema □s "he□v□n, □h□□w□ole w□rld, □nchantment&q□□□;□ Tad□u□□ says he co□□i□e□s cinema□both a charming market □□all□and a□myst□rious temple. "All t□□□ s□□age□l□nd has alwa□s□a□tra□ted □nd fa□c□□ated me," he says. "I□am devo□red by □i□em□ and I de□our ci□em□;□I&□□9;m a cinema eater." But Ta□uesz □ozewic□, an eminen□ write□, admits □□is □niqu□ for□ of coop□ra□ion was □ prob□em to hi□: "It i□ □he presence o□ t□e oth□□□person not□only in □h□ proce□s o□ writing,□but at its very core, which is inserper□□□e for me □rom a□s□lute solitude.□quot;□Some scenes t□e brothers w□ote □ogether; o□□□rs□□e□e creat□d by □he □□□ter h□m□elf, follo□□□g discussions□with the directo□.□B□□ from th□ □erspective o□ t□me, it □s &quo□□Birth□Cert□ficate"□, □ather than "Ec□o" or □quot;The Wicke□ □ate", th□t □aduesz d□scr□bes as his most intimate fil□. T□is is under□tan□able. The□tra□gey□fr□m S□ptember □939 in □o□and was□f□r the□Rozew□cz brot□□rs their □ersonal &□□ot;birth certif□cate□qu□t;. When□workin□ on□the fi□m, th□ direc□or sai□ "Th□s□time□it is al□ abo□t shakin□□off, getting rid of t□e □sycholog□cal burden w□i□h the war □a□ for all of us. ... Coope□ation □i□h my□b□□□h□r wa□ in □h□□ case eas□er, as□we sh□r□ man□ w□r memo□ie□. We□wanted to s□□w to a□ult viewers □ □ictu□e of w□r a□□□een by a child□ □.. □n reali□y, it is □he adul□s who c□e□ted □he real world of massa□□es. Ch□ldr□n behel□ th□ h□rrors□coming □a□k□to lif□,□exhu□ed from underneath t□□ g□ound, overwhelmi□g □□e ear□h□&□uo□; Th□ p□inciple of c□mp□siti□□ of "Birth Certifica□e□quot; □□□□ot obvious. When watching □ novella□film,□w□ tend to t□ink in terms□of t□a□itional□theat□e.□We expect □h□t a mi□iature□story□will fi□i□h with a □□arp point□□th□ th□ee fil□ nove□□as□□n R□zewi□z's □□r□ lack□this f□ature.□W□ □o no□ k□ow what wi□l be happe□ □o□t□e boy ma□ing □i□ alone thr□ugh□t□e□forest towar□s the□end of &q□ot□On the Road".□We do □ot □now whe□her □n &□uot;L□tte□ fro□ the □amp&quo□;, the help □ffered by the s□□ll h□roes □o a Sovi□t p□isoner □il□□resc□e him fr□m the unkno□n fate □f his compatriot□□ □he fate of the Jewish girl □rom "Dro□ of Bl□od"□ is □l□□ uncle□r□ W□ll she□ke□p her □ew□impers□nation as &qu□t□Mary□ia M□□inowska"? O□□will t□□ Nazi□ make her into a repr□sentative o□ the □q□ot;Nordic race&qu□t;? T□ose questi□ns were aske□□by th□□d□rec□or□for a r□ason□ H□ p□eceived □ar as chaos and perd□t□on, and not as l□near history tha□ could be refle□ted□i□ a plot. Although "Birth□Ce□ti□icate" is saturated with□moral content, it □oes not a□m to□be a mo□□□□ty pl□y. □ut □ith □he imm□nse pres□ur□ of re□lit□, no va□□ent of fat□ sh□□ld be excluded. □his approached ca□ be compared □t□ Krzy□□tof Ki□slow□k□□;s □qu□t□Bl□nd Chan□e&qu□t; 25 years□later, □hich pi□□ured d□□mat□□ choices □f a diffe□□□t era.□ The f□lm□novel□a "On th□ R□ad"□ h□s a very sparing plot□ bu□ it drew □□ecial attention □f □he□re□iewers. T□e □m□n□t□□g overtone of the war fil□s crea□ed b□ the Polis□ Film School a□□that tim□ sho□l□ be□kep□ in min□. Mainl□ o□ing to Wajda, those films□□ealt wit□ rom□n□□c her□tage. They were permeated with□pathos, bi□te□ness,□and irony.□Rozewi□z i□ an□ext□aord□n□□y ar□ist. Wh□n narrating□a sto□y ab□ut□a boy l□□t in a war □on□□ carr□i□g□some documents from the □egimen□ o□fi□e as if □h□y were a tr□asure, □he nar□ator□i□ "On the Road□quot; discovers rough □□ose where on□ s□ou□d fin□ p□etry. And suddenly□ the irr□tio□al□touches□this□rather tame wor□d. The bo□□ wh□ un□il th□t mom□nt re□embled a Polish□vers□on □□ the G□od□Sol□i□r□Schw□ik□ sets off, like □on Quixote□ fo□□□□□ first □n□□last battle. □ □ritic □escr□be□ it as □quot;an□a□surd□ges□□re and some□□□□else could□su□ely u□e it t□ critic□s□ the Polish style □f□dying. .□. □□t th□□□ozew□cz bro□hers□□o n□□□ccuse: they only c□mpose an□e□egy for the picturesq□□ □eas□nt-sold□□r, p□obably the mos□ im□ortant □etera□ of the Pol□sh war□of 1939-1945□□quot; &q□ot;Birth Cer□if□cate"□ is not a lof□y □tatement a□ou□ □ationa□ i□ponde□abilia. The film re□e□ls a □lebe□an pe□□pectiv□ whi□h Al□□sa□der Jackieqi□z □nce contras□□d with t□ose "lyr□cal lame□tations&qu□t□ inh□rent □n the Kordi□n □ra□ition. However□ □ his□orica□ □verview of Rozewicz&□□9□s □ork□shows□that□t□□ distinc□□v□ □tyle d□es not □ignify a fundamental dif□□rence □n il□ustrating th□ □oli□h Septe□ber.□□ust □s□the memorable s□en□ from Wajda'□ &q□o□;Lotna&q□□t□ w□s i□ fa□t an□□□pression of □□□perat□□□ a□d distress, the same □motio□s permeate the final □ce□e of "□□ir□h C□□tificate". Th□□e □re not ideo□□gical □onc□pts, t□ough once □es□rib□d as such and fer□ently de□ated, but rather psychologica□ cr□ations.□In □h□s s□ecific case, observes Witold Zalewski□ it□□□□□ot □bou□ man□fest□ng knightl□□pride, b□t about a □e□ture of a □□mple man who □oes□□ot □□re□ □o be enslave□. □h□ novella□"Drop of Blood"□is, □i□□ Al□ksander □ord□#39;s□□□□ot;Border S□reet"□ on□ of the f□rst □arrations of the □□te of □he□□□□ish Jews during□the Nazi occupation. □he□stor□ abou□ a g□rl lit□rally lo□king fo□□her place on □arth□h□s □ □ramati□ d□me□sion. E□p□cially in th□ ag□ of□□oday's jo□rnalis□ic disput□s, of□e□ manipul□tive, l□cking in emp□thy and imbued wit□ □ad□wil□, Rozewicz's story from the □ast s□o□□s wi□h its authenticity. The small herione of the story □s t□e o□ly one□who survive□ a German raid on her fam□□y home. □hys□cal□□urvial □oe□□not, howev□r, mean a□□e□ur□ to □ormalit□. □er f□ig□tened departure from t□e rubbish□du□p that was □□r hideout□le□d her□to a □ui□□d □partment. Her wa□k around it □s □ainf□□ be□ause still f□esh signs of life are mi□ed□□□th evidence of an□ihilat□on. Help is □□□ded,□but Mirka d□es not□know □n□□n□□□n the ou□sid□ world□ □er subs□quent□attempts ex□res□ the □tate□of the□fugiti□e's spir□t□ □ □rom□ho□e and f□it□, moving to doubt, a sen□e of oppres□ion,□an□ □hickening fea□, and fin□lly to desp□i□□ At the□s□me t□me, th□ Jewish girl's search for refu□e resembles the state o□ Polish soci□ty. T□e appearance□of M□rk□□re□□lts in confusi□n, and later,□troub□e.□□his was a□□eady si□nalle□ by R□□ewicz in□an e□ceptional scene from &q□ot□□etter f□om the □□mp&q□ot; in whic□ th□ boy□□s neighbour, seeing a fu□i□i□e Russian □ol□ier, retreat□ immediately, admit□i□□ that "□ow□ peo□le w□rry only ab□ut themselves.&qu□t; Such emba□assi□g e□cuses m□sk fear. □□ring the occ□pation, no □ne feel□ safe.□□either soc□al stat□s no□ the□aegis of a □har□ty o□□anisa□ion protects agai□st repr□□sion□ □e see□the□p□te□tial gu□r□□an□ of Mirka pa□sin□ he□□ba□k a□d fo□th a□on□ t□emsel□e□. These ar□ friend□y □ands but they cannot offer strong sup□ort. T□e□story takes place□on□t□□t t□in line between soli□□□ity□and he□oism. □ol□□arity arises spontan□ou□ly, but□only□s□me a□e□c□pable of he□oism. Help □or th□ g□rl does not alw□ys□resu□t f□om □omp□ssio□□ s□me□imes it is based on past rela□ion□ an□ p□rsonal ties □a□ne□ghbour of the doctor□tak□s in the fugitive□for□a□few d□ys becaus□ of□pas□ friendshi□□. Ro□ewicz portrays□all of t□is in a□sub□le way; ev□n the smal□est □esture ha□ signi□icance□ T□ke, for examp□e, the c□nversation with a stranger on the tra□n:□sh□□t, as if □otted down on□th□□ma□g□n, □ut □o f□l□ of □□nsion. And earlier□□a □□□uliar exam□nation □f□□olishne□s: the "□ol□ Fath□r" prayer force□□on □irka by th□ village□boys □o□□heck that she is no□ a□Jew. □□□ld n□t rising to the challenge□mean□a death□sentance?□ (🚮)View□d afte□□man□ year□, "B□rth Cert□ficate□quo□; dis□l□ses yet anothe□ □uality that is no□ present in th□ wor□s of the P□lis□□Sch□ol□ b□t is pr□minent□in later B-class war films□ This □s□the pict□re of ever□da□ li□e during th□ w□r□and occupat□on□outlined i□ the thr□e nove□la□. It □arm□nises□with□□he l□gic of sp□ak□n□ about "lif□ a□ter life□q□o□;. S□a□l □□r□es of Rozewicz □udden□□ en□er□the r□alit□ of□war, wi□h no exper□□nce□or scale w□t□ wh□ch t□ compare it.□Fo□ them,□the pr□se□t is□a natural□extensi□n□of□□nd at□□he same tim□ a complete□negation of the p□st. C□nsider the□sleey □mall-town□m□rke□pl□ce, t□ro□□h which armoured c□l□mns will shortly pass. Or m□et □he□German motorcycl□sts, who□l□□k □ike aliens fro□ □u□er□spac□ - □ picture t□ke□ fro□ an□autop□y because□this □s how□Stanislaw and Taduesz percei□e□ the fi□□t Germans□they ever met. N□t□ the bl□rre□ silho□ettes□of□people □gainst a white wal□ who □re□□eing sh□□ - □t first they a□e shocking, but□so□n they w□ll probably□b□co□e a part of the grim lands□ape. In th□ city centre st□nds a p□isone□ □am□ on a□sodd□n bo□ ("People pe□ish □ik□s flies;□t□e bodies are transp□rted durin□ the night&quo□;); in the str□□t th□ c□ildern are running aft□r□a coal wago□ to co□lect □ome precio□s □ieces □f fuel. There&□39;s a b□stle arou□d□some f□od (a boy reproach□s □is younger brother&□3□;s a□tions b□□□i□gin□:□"Th□ war□ant offic□r's s□n □□ b□gging in □□ont□□f the c□urch? I'□ goi□g to tell mo□her!□quot;); □nd the kitch□n, which o□e□ev□nin□ be□omes the □roscenium of □ real drama. And there are the□sy□bols: a bar□□f cho□□late for□ed□up□n a bo□ by a □□hrm□□ht□□oldier ("On the Ro□d"); a □□ir of sho□s □elonging to Z□yszek's□□ather whic□ □he bo□ sponta□eous□y □ives t□□a Rus□ian fugi□ive; □ p□i□eless□sl□c□ of□bread, gro□nd □nder t□e h□e□ of a policeman□i□ the guter ("L□tters from the□□a□p&qu□t;). As th□ dir□ctor p□t i□: "In every film, I commun□cate □y □w□ v□s□on of□the□world and of the pe□pl□. Only then the style foll□ws, th□ □e□i□ed□w□y of experiencin□ t□i□gs□" □n Birt□ Certificate, he ad□s, h□s approach was dri□en by the subj□ct: &qu□□;I atte□pted to create not only the t□xture of□the docu□ent but □□s□□to add so□e poe□□□ ele□□nt. I know i□ i□ ri□ky□□ut as□for □he me□ge□ □f documentat□on and□poety□ of□en □idden very dee□, if only it man□ges to mak□ its way onto t□e screen,□it res□lts in what can refe□re□ □o □s 'art&□39;." After□1945,□th□re □ere□num□□o□s fi□□□ creat□d □n E□□ope t□a□ deal□ with war and children, in□lud□□g &qu□t;□om□where□in Europe" (□quot;V□la□ol Europ□ba□&qu□t□,□1947 by G□za □ad□any□)□□&□uot;S□oeshine" □&q□ot;Sciescia□qu□t;, 1□□6 by Vittorio □e S□□a), an□ "Chil□h□od of Ivan&quo□; (□quot;Iwanowo□dietstwo&□uot□ by□Andrie□ T□r□ows□i). Ye□□□here□were fewer□th□□□one would expect.□Purs□ing a□subject s□ imbue□ with s□ntimentalism req□ires stylistic disiplin□ and□a spe□ial abi□ity to □anage child actors□□Th□ aut□or o□ "Birth C□rt□fi□ate□quot; □as□ered bo□h - and it was □ot □□ ch□nce. S□ani□law Roz□w□cz was alwa□s th□ beneficent sp□r□t □□□t□e f□□□ milie□; he co□l□ un□te peo□le arou□d a c□□mon□goal. □e emanated□peace a□d s□nsit□vity, wh□ch f□owed to□his c□-workers□and pupils. A □□lm, being a group work,□necessitates so□e □orm of e□□a□hy □ tu□i□g in with ot□ers. In □ biograp□i□al d□cume□tary about Sta□□slaw Rozewicz□en□itled "Walki□g,□M□eting&q□ot; (□99□ by Antoni K□auze),□the□e is a beautiful□□cene wh□n□t□□ director, afte□ a few□□ecades□ meets Bea□□ Barszczewska, who □lays□Mir□c□□a in□□he □ov□lla &□uot;D□ops o□□Bl□od&quo□;□ □he□w□man falls□□nto the arm□ of □he elderly man. They □re □□th□moved□ He□won□ers how m□ny years □av□□pass□d. S□□ an□wers: □quot;A f□w □e□rs. Not too many.&□uot; A□d □ozewicz,□with his cha□acteris□ic s□i□e say□: "□t is true. □e spe□t t□is □ntire time toget□□r.&qu□□;□胳膊和腿上□血一点点流向她的脚边，在她的鞋□散开。她低头□□一眼□□着血流(□)□到了我的伤(🍺)口，立马(🕊)扑□□，□住了我的胳膊(💏)，喊道□“呀，你出血了！这还□没□□(□)？”- 四(🦕)川风(🌇)物文化月成□高新站以“喜乐过龙□□为主□，持续到春节期间，有“高新喜市·年货大集”“尔滨食□(🛹)”“喜□捻花吟”“唐风巡游”“大(➖)唐不□翁”“财神送福巡游”等主题活动□营造欢乐祥□□新春氛围。
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拉尔斯克列夫伯格:186.400.861.601“武器，是要陪伴自己生死的伙伴和朋友。”杨萱说道，“我们看上的仙兵，还是要靠自己的力量获得，才能真正做到用起来得心应手，靠着别人的给予，心中有愧，这样不好。”
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